Texas Music Education Research, 2013 K. Poché-Rodriguez Edited by Mary Ellen Cavitt, Texas State University An Analysis of Middle School SATB and SAB Choral Sight Reading Contest Literature Kelley Poché-Rodriguez Texas Woman’s University Texas Tech University “The voice should not be made to fit the music, the music should be made to fit the voice” (Collins, 1982, p. 5). Between 2006 and 2012, 9% of all middle school choral entries in the Texas University Interscholastic League (UIL) Concert and Sight Reading Contest consisted of mixed choirs (N=842) (Texas UIL, 2012a). Middle school mixed choirs pose unique pedagogical problems for directors. One such challenge lies in the determination of whether to perform Soprano Alto Tenor Bass (SATB) or Soprano Alto Baritone (SAB) literature. While a director must take into consideration the number, strength, and vocal independence of boys in the choir, the range of the part or parts and the students’ progress in the voice change process are perhaps the most critical factors. The purpose of this study was to conduct an analysis of the UIL SATB and SAB middle school sight-reading literature from 2006 – 2012 and the corresponding UIL sight reading contest ratings. Adolescent Vocal Ranges Voice mutation, occurring in both adolescent males and females, is one of many physiological and psychological changes that occur during puberty (Gackle, 2011). Choral directors face unique challenges as they seek to find appropriate literature for choirs filled with changing voices. Though the characteristic symptoms of voice change may be less drastic in adolescent females than in males, they are present nonetheless (Gackle, 2011). Gackle (1991, 2011) developed a series of vocal phases for adolescent females that coincide with the stages of pubertal development (see Figure 1). Her ranges have been endorsed by several noted scholars and choral educators including Collins (1999), Cooksey (1999), and Haston (2007). Phase I, Prepubertal or Unchanged, is characterized by a clear, flute-like vocal quality and extends anywhere from ages 8 to 11. During this phase, the female voice is typically flexible and agile, with no obvious register breaks, and closely resembles the male voice at this age. Gackle recommends assigning girls in this stage to the Soprano I voice part. Phase IIA, the Pre- Texas Music Education Research, 2013—Page 27 Texas Music Education Research, 2013 K. Poché-Rodriguez menarcheal Phase, is when mutation begins. As females enter this phase, the first signs of physical maturation begin to appear, including breast development, height increase, and the development of other secondary sex characteristics. During this stage, girls exhibit more breathiness of tone, and register changes (or passaggio) from F4-A#4. Girls may experience a loss of their upper register and may have some difficulty in the lowest part of their range. Recommended voice parts are either Soprano II or Soprano I. The third phase, IIB, the Post-menarcheal Phase, represents the pubertal stage at the highest point of mutation. At this point of development, the voice sounds husky, register changes appear between F4–A#4 and D5–F#5, and lower notes are more easily produced, giving the illusion of an Alto quality. Girls in Phase IIB may experience some difficulty or discomfort with singing in that voice cracking and breathiness frequently occur and vibrato may begin to appear as the voice progresses through this phase. Recommended voice parts are either Soprano II or Alto. In the final phase, Phase III, the Young Adult Female, the voice is characterized by a timbre that begins to approximate a young-adult quality. Tone becomes richer, range increases, breathiness decreases, registers are more consistent, and the voice is more flexible and agile. The D5–F#5 register change is more apparent in this phase, in addition to an increase in volume and resonance capabilities. Recommended voice parts include Soprano I, Soprano II, and Alto. Research undertaken by Williams, Larson, & Price (1990) affirmed many of the characteristics attributed to Gackle’s four phases of female vocal development. The phases of vocal maturation among adolescent males pose infinitely more difficulties for the composer and choral educator. The male vocal anatomy undergoes drastic changes during puberty, the end product being roughly an octave drop in the vocal range (Collins, 1999; Cooksey, 1999; Gackle, 2011; Swanson, 1961). One of the most widely-accepted theories regarding the male voice change process is the “Continuing and Eclectic Theory for the Training and Cultivation of the Junior High Male Changing Voice” developed by Cooksey (1977a, 1977b, 1977c, 1978, 1999), the six phases of which are outlined in Figure 1. He affirmed: “The voice change process in adolescent boys is a predictable, sequential, but sometimes erratic process which generally takes place over a period of one to two years” (1999, p. 12). When a boy progresses from the Unchanged Stage to the Midvoice I Stage, he will often lose some of his higher pitches (usually C5-F5). As his height and weight begin to increase, his vocal cords start to grow, causing cartilage structure and muscles to develop around his vocal cords. During this phase, initial stages of sexual development begin to occur, e.g. increase in size of primary sex organs and first appearance of pubic hair. Cooksey states the average age of onset is 12-13 years, and this phase can last from several months to a year. The next phase, Midvoice II, is marked by the emergence of the falsetto register, appearance of register lift points, and some loss of coordination. Average age of onset is 13 years, and this phase can last 12-13 months. The Midvoice IIA Stage is when the voice is most vulnerable to abuse. With onset at 13-14 years of age, and lasting from 1-10 months, Cooksey (1999) maintains this phase is vocally challenging. The falsetto can be difficult to access, singers can lose agility as the range lowers, and boys can become prone to pushing or forcing tone at range extremes. “There are coordination problems with the control of sound, particularly if the voice is forced to sing out of the restricted range. This is the time when many vocal problems are created, and serious dysphonias appear” (Cooksey, 1977b, p. 13). Physical characteristics of the Midvoice II and IIA Stages include a clearly prominent “Adam’s apple,” continuing increase in Texas Music Education Research, 2013—Page 28 Texas Music Education Research, 2013 K. Poché-Rodriguez height and weight, a disparity in body proportions, and a rapid growth of the head. As lungs grow larger, breathing capacity increases, and primary sexual characteristics are clearly manifested. This stage is followed by the New Baritone Stage, in which the range begins to stabilize. While falsetto can be produced more easily, there is less pitch agility, due to the increasing strain to produce notes at the top of the range. This is when the “blank spot” (Swanson, 1961) often begins to appear, wherein boys are unable to produce pitches, typically between C4-F4. According to Cooksey, onset usually occurs around 14 years of age and lasts for 3-5 months. Weight increases begin to subside, and there is a cessation of height increase. This is the pinnacle of the development of sexual characteristics, when facial hair begins to appear and develop, chest and shoulder dimensions continue to increase, and the vocal cords reach maximum length, having grown 1 cm. since the onset of mutation. The singing voice is marked by a loss of childlike soprano qualities, but still lacks a fully developed adult sound. Resonation capabilities in lower extremes are not fully reached. The voice remains light, but approximates the mid- baritone sound. Finally, the young male enters the Settling Baritone, or “Emerging Adult Voice” Stage. With onset at 14-15 years of age, the singer sees a gradual expansion in his range and vocal capability. Vocal production is more consistent, with a clearer and more focused falsetto register. The chest, shoulders, and muscles continue to develop, but height and weight, body metabolism, and heart rate become stabilized. The singing voice is marked by an increase of body and resonance of tone, along with emerging adult qualities. Voice classification becomes easier to determine. If the voice is to become tenor, some lower notes may disappear. Onset of Voice Change Gackle’s (2011) ages of onset for the stages of female voice change (outlined in Figure 1) are widely accepted. Cooksey’s research on the stages of male vocal maturation has been replicated and upheld (Rutkowski, 1985); however, other researchers (Killian & Moore, 1997; Killian & Wayman, 2010; Moore ,1995; Rutkowski, 1985) assert that the age of onset of vocal mutation in boys may be occurring earlier. Cooksey (1999) submitted the most active phase of the voice change occurs on average between 12.5 and 14 years of age, the precise ages of most US middle school 7th and 8th grade boys. Cooksey (1977b) found 8th grade to be the time when the most dramatic voice mutation occurred, and that the most dramatic changes happened over a span of 1.5 -2.5 years. Moore (1995), however, showed that less than 1% of 7th grade boys (generally ages 12-13) had unchanged voices at the beginning of the 7th grade year. Moore’s findings were upheld by Killian (1999a), who found that 81.4% of 6th grade boys were in one of the changing voice categories. She found only 18.6% of 6th grade boys to be unchanged. Gackle (2011) stated that girls are also entering menarche and going through puberty earlier than their mothers did. What this means for middle school choral educators, who usually teach students ages 11-14, is that they can expect to have boys and girls of all stages of voice change in their choirs at any given time.